Amanda – The Night Before Me continues at The Bridge House Theatre, London until 10 October 2026.
Star rating: four stars ★ ★ ★ ★ ✩
Rory Six’s play Amanda – The Night Before Me arrives in London following critical success across Europe, in an English version adapted by Charles Hart. The 14-character show expresses itself through the form of a musical monologue, performed by the ever-talented Divina De Campo. Perhaps it is this one-person format that allows Amanda’s story to feel so deeply personal, the audience is not simply watching her journey, but are being invited into the experiences and relationships that have shaped it.
The intimate space of The Bridge House complements Timo Verse’s set perfectly. The boudoir-esque clinic room where Amanda stays the night before undergoing gender-affirming surgery gives the production less of the feel of a traditional performance and more of an intimate, personal storytelling experience.
The cosy set later reveals itself as a chrysalis towards the end of the show, further symbolising Amanda’s journey towards becoming her true self. Stephanie Affleck’s fantastic lighting design enhances this transformation, continually shifting to reflect Amanda’s changing moods.
What makes this show stand out is that it delivers its message simply through being human. Amanda’s experience as a trans woman is not presented as a straightforward story about identity, but as a life shaped by rejection, laughter and love.
Another huge strength of the show is how the audience experiences Amanda’s journey through the people around her. We watch as family, friends and strangers attempt to understand her, sometimes with acceptance, sometimes with confusion and sometimes with prejudice. In doing so, the show doesn’t simply ask us to understand Amanda; it makes us confront the personal cost of other people’s reactions on her life.
This is mirrored in the pace of the show (Six directs with Jerôme Knols, the latter is also the choreographer). There is no traditional musical theatre climax or single standout song; instead, the story unfolds conversationally and reflectively, much like the fragmented memories of a life. It is this simplicity that allows the emotional moments to land naturally, without ever feeling forced.
This also serves as a testament to De Campo’s performance and their remarkable ability to flow seamlessly between 14 characters. Whether it’s a teenage girlfriend with an obnoxiously funny laugh or Amanda’s own mother, each character is uniquely portrayed, as are their individual relationships with Amanda. De Campo’s versatility is impressive, but their portrayal of Amanda herself is perhaps even more so. They fill her with life and soul, ensuring this never feels like a factual retelling of one woman’s life, but a deeply personal story encompassing both her emotional and literal journey.
Unsurprisingly, De Campo’s vocals shine yet again, from lighter-hearted moments such as their rendition of ‘Danny Freeman’ to loss-filled performances like ‘Showdown’. The range within the score is truly impressive, with De Campo demonstrating their vocal skill in both the bigger numbers, delivered with an impressive theatrical boom, and the slower, more restrained moments, which often prove the most impactful.
Amanda – The Night Before Me is truly something special. It explores important and timely issues, but never allows them to overshadow the person at their centre. Instead, it serves as a powerful reminder of the humanity behind the issues we so often reduce to headlines and labels.
Libby O’Connell
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